链接：https://schedule.gdconf.com/session/22nd-annual-game-audio-network-guild-awards/903483
作者：Brian Schmidt (Founder & President, Brian Schmidt Studios)
Excellence in Game Audio is celebrated annually at the G.A.N.G. Awards show. Come and be a part of the magic as it recognizes the best of the best! It will be a night of entertainment and peer recognition as the show reviews the finest in game audio from the past year.
在 G.A.N.G.（Game Audio Network Guild，游戏音频网络公会）年度颁奖礼上，我们每年都会庆祝游戏音频的卓越之处。快来加入这场魔幻之旅，见证对最优秀作品的认可！这将是一个充满娱乐和同行认可的夜晚，届时将回顾过去一年中最优秀的游戏音频作品。
'3DHaptics™' Practical Design Method: Insights from Sound and UX/UI Experts (Presented by Miraisens, Inc.)
作者：Masatoshi Miyakawa (Business Development Director, Miraisens, Inc.)
Miraisens invites all game developers an engaging session on haptic creation in game development, featuring a sound designer from a leading Japanese AAA studio and a player experience designer with over 20 years of industry experience (speakers to be revealed soon). They will share their insights on the current state and future trends of haptic design, and demonstrate how AMPTIX, a new haptic tool and middleware solution, can enhance your games with its unique features. Learn how to create immersive and realistic haptic feedback for your games.
Miraisens邀请所有游戏开发者参加一场关于游戏开发中触觉创作的引人入胜的讨论，特邀来自一家领先的日本AAA工作室的声音设计师和一位拥有超过20年行业经验的玩家体验设计师（演讲嘉宾即将揭晓）。他们将分享有关触觉设计的当前状态和未来趋势的见解，并演示全新触觉工具和中间件解决方案AMPTIX如何借助其独特功能增强游戏体验。学习如何为您的游戏创造身临其境和逼真的触觉反馈。
作者：Jesse Allen (Audio Manager, Insomniac Games)、Daniel Birczynski (Audio Manager, Insomniac Games)、Patrick Michalak (Dialogue Manager, Insomniac Games)
'Marvel’s Spider-Man 2' was the largest and most ambitious game Insomniac has ever attempted. With a team of over 30 sound, speech and music designers, 'Marvel’s Spider-Man 2' had more people than many full game teams of years past. This was all to support a colossal PS5 game with unprecedented sonic detail.Audio leads from Insomniac Games share how they conceptualized and acted on a strategy to bring this game to life, provide a better work/life balance and still deliver a blockbuster video game on time and on budget.
《漫威蜘蛛侠2》是Insomniac迄今尝试过的最大、最雄心勃勃的游戏。在一个由30多名音效、语音和音乐设计师组成的团队的支持下，《漫威蜘蛛侠2》拥有比许多之前几年完整游戏团队还要庞大的人员。这一切都是为了支持一个规模庞大的PS5游戏，拥有前所未有的声音细节。Insomniac Games的音频负责人分享了他们是如何构思并执行策略来让这款游戏栩栩如生，提供更好的工作/生活平衡，同时如期如约地交付一款大片视频游戏的。
作者：Zack Bogucki (Senior Sound Designer, PlayStation Studios)、Joanna Fang (Senior Foley Artist, PlayStation Studios)、Blake Collins (Senior Foley Mixer, PlayStation Studios)
Marvel's Spider-Man 2 features the most extensive Foley coverage of any Insomniac title to date, thanks to PlayStation Studio's first-ever dedicated Foley team. Meet Joanna Fang and Blake Collins, the duo behind the cloth, props, and footsteps of your favorite web-slingers, and learn how they worked with established sound designers like Zack Bogucki to sculpt the sonic landscape of this massive, cinematic, open-world game. Joanna and Blake bring years of film and television experience in the craft, while Zack provides insights from his Foley work on the previous two entries in the series and implementation work on the newest. Together, they discuss the benefits, challenges, and paradigm shifts of applying their combined experience to an interactive medium, and the ways Foley can be used to enrich narrative beats and gameplay feedback all at once!
《蜘蛛侠：复仇者2》拥有迄今为止Insomniac游戏中最全面的Foley覆盖，这要归功于PlayStation Studio历史上第一个专门的Foley团队。来认识一下在你最喜爱的网行者的布料、道具和脚步声背后的二人组，他们就是Joanna Fang和Blake Collins，还有了解一下他们是如何与像Zack Bogucki这样的声音设计师合作塑造这款庞大、影视化、开放世界游戏的声音景观的。Joanna和Blake在这一行业拥有多年电影和电视经验，而Zack从之前系列的两部作品中的Foley工作及最新作品的实施工作中提供见解。他们共同讨论了将他们的丰富经验应用于互动媒体存在的好处、挑战和范式转变，以及Foley如何同时用于丰富叙事节奏和游戏反馈的方式！
链接：https://schedule.gdconf.com/session/audio-directors-roundtable-day-1/899877
作者：Lydia Andrew (Studio Audio Director, EA DICE)、Jason Kanter (Principle Audio Lead, Avalanche Studios)
This roundtable discussion will be focused on the different approaches and techniques to running an audio department. Some of the topics covered include: creative ownership, leadership styles, interdepartmental relations, management styles and team culture. This talk will not only benefit audio directors but all members of the audio department as attendees are encouraged to participate and share their own experiences and perspectives regarding the topics of discussion. Working towards the goal of determining best practices for their own audio department, department heads and department members alike will leave with fresh perspectives in regards to each other's roles. This is a chance for attendees to build and rebuild networks and creative partnerships, to encourage and share best practices and to talk about the best ways to build and maintain strong, diverse, creative teams that can work on building the best possible player experiences and the best possible experiences of making games.
这次圆桌讨论将重点讨论管理音频部门的不同方法和技巧。涵盖的一些主题包括：创意所有权、领导风格、部门间关系、管理风格和团队文化。这次讨论不仅将使音频总监受益，所有音频部门的成员都被鼓励参与并分享他们自己在讨论主题方面的经验和观点。致力于确定其音频部门最佳实践的目标，部门负责人和部门成员都将以新视角了解彼此的角色。这是与会者建立和重建网络和创意合作伙伴关系的机会，鼓励并分享最佳实践，并讨论构建和维护强大、多样化、创造性团队的最佳方式，这样的团队可以共同努力打造最佳的玩家体验和制作游戏的最佳体验。
链接：https://schedule.gdconf.com/session/audio-directors-roundtable-day-2/899920
作者：Lydia Andrew (Studio Audio Director, EA DICE)、Jason kanter (Principle Audio Lead, Avalanche Studios)
This roundtable discussion will be focused on the different approaches and techniques to running an audio department. Some of the topics covered include: creative ownership, leadership styles, interdepartmental relations, management styles and team culture. This talk will not only benefit audio directors but all members of the audio department as attendees are encouraged to participate and share their own experiences and perspectives regarding the topics of discussion. Working towards the goal of determining best practices for their own audio department, department heads and department members alike will leave with fresh perspectives in regards to each other's roles. This is a chance for attendees to build and rebuild networks and creative partnerships, to encourage and share best practices and to talk about the best ways to build and maintain strong, diverse, creative teams that can work on building the best possible player experiences and the best possible experiences of making games.
这次圆桌讨论将重点讨论管理音频部门的不同方法和技巧。涵盖的一些主题包括：创意所有权、领导风格、部门间关系、管理风格和团队文化。这次讨论不仅将使音频总监受益，所有音频部门的成员都被鼓励参与并分享他们自己在讨论主题方面的经验和观点。致力于确定其音频部门最佳实践的目标，部门负责人和部门成员都将以新视角了解彼此的角色。这是与会者建立和重建网络和创意合作伙伴关系的机会，鼓励并分享最佳实践，并讨论构建和维护强大、多样化、创造性团队的最佳方式，这样的团队可以共同努力打造最佳的玩家体验和制作游戏的最佳体验。
作者：Renaud Barne (QA lead / Voice director, Demute)
In this session, Renaud Barne presents Audio Quality Assurance (QA) and underscores its critical role in enhancing game audio. He explores the problem he faced with audio feedback and the general misunderstanding of sound in games and the practical aspects of seamlessly integrating Audio QA within a development team for all departments - from sound design, voice direction and music. This includes strategies for hiring the right talents and implementing audio-specific tools tailored to your project's requirements. Additionally, the speaker will delve into the concrete benefits of nurturing a strong partnership between QA and Developers at every project stage. This approach not only streamlines processes but also boosts productivity, fosters sustained interest, and ultimately results in fewer bugs and shorter turnaround times. By embracing Audio QA, you can optimize your soundscapes and achieve top-notch results in your projects.
在本场讨论中，Renaud Barne介绍了音频质量保证（QA）并强调了它在增强游戏音频中的关键作用。他探讨了他在音频反馈方面所面临的问题，以及人们对游戏中声音的普遍误解，以及在开发团队中无缝整合音频QA的实际方面，涵盖了从声音设计、配音指导到音乐等所有部门。这包括了招聘正确人才和实施针对项目需求定制的音频专用工具的策略。此外，演讲者还将深入探讨在每个项目阶段培养QA和开发者之间强有力合作的具体好处。这种方法不仅简化了流程，而且提高了生产效率，促进了持续的兴趣，最终导致更少的错误和更短的周转时间。通过采用音频质量保证，您可以优化音频环境并在您的项目中取得一流的效果。
作者：Jorge Garcia (Software Engineer, Electronic Arts)
This talk offers valuable insights into the design and development of audio tools, showcasing the importance of user-centered approaches, collaboration, and iterative processes in creating tools that enhance the productivity and creativity of sound designers and content creators. The talk emphasizes the iterative nature of tool development, where user feedback and collaboration play a vital role in refining the tool's functionality and workflows. It highlights the importance of continuously adapting and improving tools based on user experiences to maximize productivity and creativity. Additionally, some arguments for showing the value of investing more in audio tools are presented.
这次演讲为音频工具的设计和开发提供了宝贵的见解，展示了用户为中心的方法、协作以及迭代过程在创建能够增强声音设计师和内容创作者生产力和创造力的工具方面的重要性。演讲强调了工具开发的迭代特性，在这一过程中，用户反馈和协作在优化工具功能和工作流程中起到至关重要的作用。它强调了根据用户体验不断调整和改进工具的重要性，以最大程度地提升生产力和创造力。此外，演讲也提出了一些支持投资更多在音频工具上的价值的论点。
作者：Ariel Contreras-Esquivel (Freelance Composer, Independent)
In this lecture, Ariel explores the essential role of music in shaping a game's identity and the impact it has on player engagement and immersion. Ariel delves into the elements that contribute to a compelling music identity, including original compositions, thematic motifs, choice of instruments, and adaptive music systems. Through case studies of games such as 'Journey,' 'Hi-Fi Rush,' 'Undertale,' 'Blue Fire,' 'Teratopia,' 'Far Cry 6,' we will understand how memorable music enhances storytelling and emotional connections with players. Additionally, we discuss the game music development process, emphasizing the collaboration between game designers and composers. Join Ariel to discover how a strong music identity can leave a lasting impression on players and create a unique gaming experience.
在这次讲座中，Ariel 探讨了音乐在塑造游戏身份中的基本作用，以及它对玩家参与度和沉浸感的影响。 Ariel 深入探讨了构成引人注目音乐身份的元素，包括原创作品、主题动机、乐器选择以及自适应音乐系统。通过对诸如《旅程》、《Hi-Fi Rush》、《传说之下》、《蓝火》、《Teratopia》、《孤岛惊魂6》等游戏的案例研究，我们将了解令人难忘的音乐是如何增强叙事性并与玩家建立情感联系的。此外，我们还会讨论游戏音乐开发过程，强调游戏设计师和作曲家之间的合作。加入 Ariel，发现一个强大的音乐身份如何能给玩家留下深刻印象并创造独特的游戏体验。
作者：Brigitte Dajczer (Composer, Music Salad Studio Inc.)
What is it like to work with different teams across the spectrum of studios? From AAA to Indie Games, what differences lie within the audio teams' workflows, pipelines, and collaborative processes? Brigitte Dajczer, founder & lead composer of Music Salad Studio Inc. draws on her game audio experience since 2006 in order to share tips on: problem solving to deliver the perfect dynamic audio within a limited budget ('Fracter'), working beyond language & cultural differences ('Resident Evil Village'), collaborating musically on in-game cinematics ('Shadow of the Tomb Raider') and crafting music & SFX from a creative brief. ('Journey Across Raava').
在不同工作室团队之间合作是怎样的呢？从AAA游戏到独立游戏，音频团队的工作流程、流程以及合作过程中有哪些不同之处？Music Salad Studio Inc. 的创始人兼首席作曲家Brigitte Dajczer，借助自己自2006年起的游戏音频经验，分享以下技巧：解决问题以在有限预算内提供完美的动态音频（'Fracter'）；跨越语言和文化差异展开工作（'生化危机村'）；在游戏中配乐的协作（'古墓丽影：暗影'）；以及根据创意要求制作音乐和音效（'穿越莱娃之旅'）。
作者：Tyler Hoffman (Sound Designer, Insomniac Games)
What does it feel like to be Spider-Man? Sound Designer Tyler Hoffman will provide a high-level overview of haptics, explaining how haptic feedback is designed with audio. Learn about the haptic design of Marvel's Spider-Man 2 and its utilization of Wwise and PlayStation's proprietary haptic synthesizer, Seismix. Understand why the DualSense controller is the perfect tool for delivering a next-gen sensory experience.
担任声音设计师的Tyler Hoffman将提供一个关于触觉技术的高层概述，解释触觉反馈是如何与音频一起设计的。了解《蜘蛛侠》游戏系列的触觉设计，以及它如何使用Wwise和PlayStation专属的触觉合成器Seismix。了解为什么DualSense手柄是提供下一代感官体验的完美工具。
作者：Dominique Devoucoux (Head of Audio, King)
Casual games are known for having up to around 50 percent of players who don't play with the audio on. How do you get them to turn it on? What you need to do is give them an excellent reason to do so every time they interact with your game. Dominique Devoucoux, Head of Audio at King, looks at how raising the standards of casual games audio like King has done with the 'Candy Crush Saga' music revamp, can do just that. Discussing how adding and creating fun and high quality audio content in mobile games helps drive the player experience, Dominique touches on recent case studies as well as future activations for 2024.
休闲游戏以大约50%不使用游戏音频的玩家而闻名。那么如何让玩家打开音频呢？你需要做的就是每次玩家与你的游戏进行互动时，给他们一个很好的理由这样做。国王公司的音频负责人Dominique Devoucoux探讨了如何像国王公司所做的'Candy Crush Saga'音乐改版一样，提升休闲游戏音频的标准，可以做到这一点。Dominique讨论了在移动游戏中增加和创建有趣且高质量的音频内容如何助力玩家体验，并提到了最近的案例研究以及2024年未来的激活计划。
链接：https://schedule.gdconf.com/session/audio-summit-how-sound-can-make-you-feel/901420
作者：Em Halberstadt (Audio Director, A Shell in the Pit)
Within each layer of the process of game audio there is a deep connection to how we feel, from how we piece together individual elements like ambience or foley, to the frequencies we use in each asset. In this talk, Em covers how frequency range, density, loudness and balance all affect how we are feeling as we are listening, and learn how they can all make us feel agitation or relief as we're playing games. Em also explores how all of us as game developers can understand and communicate this connection to feeling as we create, so we can adapt to the character of each game, and make it resonate.
在游戏音频制作过程的每一层中，我们与情感之间存在着深刻的联系，从我们如何拼接诸如环境音或配音等单独元素，到我们在每个音频资产中使用的频率。在这个讲座中，Em 讨论了频率范围、密度、响度和平衡如何影响我们在聆听时的感受，以及学习它们如何使我们在玩游戏时感到焦虑或放松。Em 还探讨了作为游戏开发者的我们如何理解和传达情感与音频之间的这种关联，使我们能够适应每款游戏的特质，并使之产生共鸣。
链接：https://schedule.gdconf.com/session/audio-summit-lunchtime-surgeries/903607
作者：Renaud Barne (QA lead / Voice director, Demute)、Jorge Garcia (Software Engineer, Electronic Arts)、Ariel Contreras-Esquivel (Freelance Composer, Independent)、Adele Cutting (Director/Founder, Soundcuts Ltd)、Brigitte Dajczer (Composer, Music Salad Studio Inc.)、Tyler Hoffman (Sound Designer, Insomniac Games)、Dominique Devoucoux (Head of Audio, King)、Em Halberstadt (Audio Director, A Shell in the Pit)
An opportunity for deeper conversations with Audio Summit speakers over lunch in a smaller scale setting. Grab some food and then come back to sit at tables in the round with the day's speakers on the topics that are top of mind for you about the industry, the day's topics, and the questions at the top of attendee minds.
在更小规模的环境中，通过与音频峰会演讲者进行深入交流的机会。抓住机会拿些食物，然后回来坐在圆桌旁与当天的演讲者讨论你对行业、当天议题和参与者关注的问题。
作者：Adele Cutting (Director/Founder, Soundcuts Ltd)
This talk presents a comprehensive guide to Speech Production in games, covering the different areas of the pipeline - Casting, Session Preparation, the Session itself, Direction and Editing. Also covered are some of the pitfalls to avoid and how planning ahead is a must for saving time later in production.
这个讲座将全面介绍游戏中的语音制作，涵盖了流程的不同领域 - 包括配音、会话准备、会话本身、指导和编辑。还会涵盖一些需要避免的陷阱，以及提前规划对后期制作节约时间的重要性。 (Speech Production；Casting；Session Preparation；Direction and Editing)
作者：Stefan Randelshofer (Audio Director, Larian Studios)、Alistair Hirst (Sr. Game Developer Relations Manager, Dolby Laboratories)
Baldurs Gate 3 is a story-rich party based RPG set in the universe of D&D that has shot to the top of the charts and won multiple awards. Alistair Hirst from Dolby Laboratories sits down with Baldur's Gate 3 Audio Director Stefan Randelshofer to look behind the scenes to see what it took to conceptualize, create and implement the audio for this massive hit game. The discussion will include the motivation and process to support Dolby Atmos in the last six months of development, and how that turned out.
《巴尔德之门3（Baldurs Gate 3）》是设定在D&D宇宙中的故事丰富的基于队伍的角色扮演游戏，已经飙升至排行榜榜首，并赢得多项奖项。杜比实验室的阿利斯泰尔·赫斯特（Alistair Hirst）与《巴尔德之门3》音效总监斯特凡·兰德尔肖弗（Stefan Randelshofer）坐下来，一起探索幕后，看看为这款大热游戏构思、创建和实施音频所需付出的努力。讨论内容将包括在开发的最后六个月内支持杜比全景声的动机和过程，以及结果如何。
链接：https://schedule.gdconf.com/session/closing-the-gender-gap-in-game-audio-design/899621
作者：Debbie Gonzalez (EP / Head of Studio, The Sound Lab a Keywords Studio)、Kat Wenske (Audio Director / Executive Producer, Team Audio)、Monet Gardiner (Dialogue Designer, Sony Interactive Entertainment PlayStation)、Alexandra Takei (Business Director, Ruckus Games)、Gina Zdanowicz (Founder, Serial Lab Sound)
The percentage of gamers who identify as female has hovered around 50% since 2014. However the demographics of the studios that develop the games they play does not reflect this population ratio, with 23% to 30% of game developers identifying as women. While the demographics of the game development industry as a whole are inching towards parity, the field of game audio is struggling, with only 12% of game audio professionals identifying as women. Why is the game audio industry falling behind in creating a more equitable and diverse community? Join a distinguished and accomplished group of women developers as they tackle this issue through insightful discussion of the underrepresentation of women in game audio and how it relates to the game development industry overall. Panelists address the underlying causes of inequality unique to game audio and strategies for building a more gender diverse industry. Discussion topics include recruitment, education, language, messaging, work environments, safety, and leadership.
自2014年以来，自认为女性的玩家比例一直稳定在50%左右。然而，开发她们所玩游戏的游戏公司的人口统计数据并未反映出这一比例，仅有23%至30%的游戏开发者自认为是女性。尽管整个游戏开发行业的人口统计数据正在朝着性别比例平等的方向迈进，但游戏音频领域却面临困难，仅有12%的游戏音频专业人士自认为是女性。为什么游戏音频行业在创造一个更公平、更多元化的社区方面落后了？加入一群杰出而有成就的女性开发者，她们将通过深入讨论女性在游戏音频领域的低代表性问题以及与整个游戏开发行业的关系，来解决这一问题。座谈会成员将就游戏音频领域独有的不平等根本原因和创建更具性别多元化的行业的策略发表看法。讨论主题包括招聘、教育、语言、信息传递、工作环境、安全和领导力。
作者：Sébastien Croteau (President, The Monster Factory AV INC)
Creature vocalizations made by voice talents have become more popular in video games over the past few years. Mostly dominated by animal sounds libraries or softwares modifying the voice for decades, more and more game companies have turned to humans to voice those characters. In this session, Sébastien Croteau, President of The Monster Factory AV INC, gives insight into the science behind extreme voice techniques used by creature voice talents, the challenges of creature vocalizations, the different vocal archetypes, and voice layering techniques. It also dives into the recording process for this type of character and gives tips and tricks to get the most out of creature voice talents.
在过去几年中，由配音人员制作的生物发声在视频游戏中变得越来越流行。几十年来，大多数情况下是通过动物声音库或软件修改声音来达到效果，但如今越来越多的游戏公司开始转向人类来为这些角色配音。在本次讨论中，The Monster Factory AV INC 的总裁Sébastien Croteau 将揭示生物配音艺术家所使用的极端声音技术背后的科学原理，生物发声所面临的挑战，不同的声音原型以及声音层叠技巧。讨论还深入探讨了这类角色的录制过程，并提供了利用生物配音才能的技巧和窍门。
作者：Pete Kugler (Engineering Architect, Bungie)、Cameron Konner (Senior Technical Audio Designer, Bungie)
Wwise 2021 introduced the capability to transition across music containers, allowing us to build seamless transitions across music play lists. This inspired new innovations to our audio system, where we could now transition seamlessly back-and-forth between the free-roam open world experience, and in-world activities, like Lost Sectors and Public Events. This talk will be a deep dive into the implementation of our new music system that was shipped with the Lightfall expansion. It will cover the designer setup, scripting, and code architecture used to build up that system. Additionally, the talk will provide an overview of our unique audio data compilation pipeline and how we leverage WWAPI automation in our studio for content setup and testing.
Wwise 2021 引入了跨音乐容器过渡的能力，使我们能够在音乐播放列表之间构建无缝过渡。这激发了我们音频系统的新创新，我们现在可以在自由漫游的开放世界体验和地图内活动（如迷失领域和公共事件）之间实现无缝过渡。这次讨论将深入探讨我们携带 Lightfall 扩展中新音乐系统的实施。它将涵盖设计师设置、脚本编写和编码架构等构建该系统所使用的内容。此外，本次讨论还将概述我们独特的音频数据编译流程以及在内容设置和测试方面如何利用 WWAPI 自动化工具。
链接：https://schedule.gdconf.com/session/diablo-iv-audio-systems-deep-dive-living-audio/899258
作者：Kris Giampa (Audio Director, Blizzard Entertainment)、Michael Bartnett (Software Engineer, Blizzard Entertainment)
Audio Director Kris Giampa and Software Engineer Michael Bartnett discuss collaboration between disciplines and dive deep into various audio systems for Diablo IV. In this session, they talk in depth about the philosophies and tech of the Hero Skill and Foley SFX layering for repetitious gameplay, Monster SFX voice limiting and Importance System, Voice/SFX/Music ducking all in conjunction to help tame a chaotic mix. They also discuss in-game Cinematics tech decisions as well as how and why they leaned into automated ambient systems to help in creating an ever-evolving, clearer dynamic audio mix for Diablo IV.
音频总监Kris Giampa和软件工程师Michael Bartnett讨论了各个领域之间的合作，并深入探讨了《暗黑破坏神IV》中的各种音频系统。在这个讨论中，他们深入探讨了英雄技能和佛利音效叠加、怪兽音效语音限制以及重要性系统的哲学和技术，声音/音效/音乐的降噪等内容，以帮助缓解混乱的声音混合效果。他们还讨论了游戏内的电影技术决策，以及为什么和如何倾向于使用自动环境系统来帮助创造一个不断演化、更清晰动态的音频混音效果的问题。
链接：https://schedule.gdconf.com/session/dial-up-the-diegetics-musical-sound-effects/898557
作者：Winifred Phillips (Composer, Generations Productions LLC)
Using numerous examples from her own musical scores for projects such as Assassin's Creed Liberation, Sackboy: A Big Adventure, Speed Racer, and The Da Vinci Code (among many others), award-winning composer Winifred Phillips will explore how composers can experiment with sound effects to make their music more unique and evocative. Sound design experts uses convincing diegetic audio assets to create the impression that all sound springs from the game environment. Music typically exists outside of that environment, but this does not preclude music from embracing diegetic elements. Phillips will explore how sound effects can be adapted to function within a musical composition. From environmental effects and animal sounds to the noises of machinery, technology, and other human activities, sound effects can evoke conceptual associations that help to support the narrative, while also infusing surprising novelty into musical scores.
使用她为《刺客信条 解放》、《袋鼠小镇：大冒险》、《极速赛车》和《达·芬奇密码》（以及许多其他作品）创作的众多音乐作品作为例证，屡获殊荣的作曲家温妮弗德·菲利普斯将探讨作曲家如何通过音效实验使他们的音乐更具独特性和感染力。声音设计专家使用令人信服的故事内音频资源来营造所有声音源自游戏环境的印象。音乐通常存在于环境之外，但这并不排斥音乐融入到故事内部元素中。菲利普斯将探讨如何将音效改编为音乐作品中的一部分。从环境效果和动物声音到机械、技术和其他人类活动的噪音，音效可以唤起概念联系，有助于支持叙事，同时也为音乐作品注入令人惊喜的新奇感。
Dialogue Innovation in 'Marvel's Spider-Man 2': Challenges and Opportunities of Ushering in the Breathing System
作者：Matthew Strasser (Advanced Dialogue Coordinator, Insomniac Games)
What does it take to usher in a new AAA dialogue system at shippable quality? What behind-the-scenes decisions were made and challenges faced in order to see it through? This talk showcases the exhilarating, challenging, and intricate venture we embarked on to create the Marvel’s Spider-Man 2 Breathing System. Together we explore the steps taken to embrace ownership of this system, collaborate across departments, and re-scope multiple times as we faced surprising technical challenges. Explore the strategies that we used to balance system work and task work, while gaining insights into JIRA's pivotal role as a tracking and delegation tool. In addition, discover why we chose the Wwise Middleware music system to build the system in. At its core, this presentation shines a spotlight on the principles of ideation, problem-solving, resilience, collaboration, and embracing failures as stepping stones towards realizing a AAA-level vision.
我们需要做什么来引入一个在可交付的质量上达到AAA级别的对话系统？为了完成这一目标，我们在幕后做出了哪些决策并面对了哪些挑战？这次讲话展示了我们踏上的这个令人兴奋、具有挑战性和复杂的冒险，创建《蜘蛛侠》2呼吸系统。我们一起探索了为拥有这一系统而采取的步骤，跨部门合作，并在面对意外的技术挑战时多次重新调整范围。探讨我们用来平衡系统工作和任务工作的策略，同时深入了解JIRA作为跟踪和委派工具的关键作用。此外，了解我们为什么选择Wwise Middleware音乐系统来构建这个系统。本次演讲的核心是将焦点放在构思、解决问题、适应性、合作以及将失败视为实现AAA级别愿景的垫脚石的原则上。
链接：https://schedule.gdconf.com/session/diversity-in-game-audio-roundtable/899302
作者：Chase Bethea (Composer / Technical Music Designer, Independent)、Noa Beazley (Composer, Independent)、Katelyn Isaacson (Singer / Sound Designer, Independent)、Star Victoria Power (Composer, Slide20XX)
Tech industries, including the video game industry, are predominantly composed of cis, white, male individuals. Thanks to the momentum of social movements such as #MeToo (2017), #BlackLivesMatter (2020), and #StopAsianHate (2020-21), efforts to address systemic issues are increasing, but there's still plenty of work to be done. It's absolutely critical to keep these conversations going. As industry professionals with firsthand experience existing as diverse individuals in a homogeneously dominated space, this group aims to lead these vital discussions in order to facilitate lasting change.
科技行业，包括视频游戏行业，在很大程度上由顶着白人、男性身份的人组成。得益于诸如#MeToo（2017）、#BlackLivesMatter（2020）和#StopAsianHate（2020-21）等社会运动的势头，解决系统性问题的努力正在增加，但仍有大量工作要做。继续进行这些对话至关重要。作为在以同质化为主的空间中身份多样性的人们拥有第一手经验的行业专业人士，这个团体旨在引领这些至关重要的讨论，以促进持久的变革。
作者：David Osternacher (Lead Audio Designer, Massive Entertainment - A Ubisoft Studio)、Alex Riviere (Audio Director, Massive Entertainment - A Ubisoft Studio)
Creating the sound for a game in the Avatar universe presented the audio team at Ubisoft Massive with a unique opportunity. Contrary to most AAA games, the star of the show is the world in which the game is set, Pandora. Audiences can finally come a huge step closer to living their fantasy of visiting the incredible place they've seen on the cinema screen.
To make this experience believable, Pandora needs to have unprecedented fidelity, and feel like everything is connected. Every part of the world needs to have a sound, and every sound needs to have a logical link to the rest of the game. The world needs to react to the player constantly, whether they interact with it actively, or passively.
This presentation outlines the creative strategies devised to achieve these goals, how to create the enormous amount of content needed to fulfill this vision, as well as the technology that had to be built in order to realize the team's intentions.
在《阿凡达》宇宙中为游戏创造音效为育碧大型游戏工作室的音频团队提供了独特的机会。与大多数AAA游戏不同的是，这款游戏的明星是所设定的世界潘多拉。观众终于可以更接近地体验他们在电影屏幕上看到的令人惊叹的地方，实现了他们的访问幻想。
为了使这种体验更具置信度，潘多拉需要具有前所未有的细腻度，并且感觉一切都是相互关联的。世界的每个部分都需要有声音，每个声音都需要与游戏的其余部分有逻辑联系。这个世界需要不断地对玩家做出反应，无论他们是积极地与之互动，还是被动地经过。
本文概述了为实现这些目标而制定的创意策略，如何创建巨量所需内容以实现这一愿景，以及为实现团队意图而必须构建的技术。
作者：Robert Bantin (Snowdrop Audio Architect, Massive Entertainment)
It’s been 5 years since we showed how the Snowdrop Engine delivered high-fidelity environmental acoustic effects for "Tom Clancy's The Division 2". With "Avatar: Frontiers of Pandora" these technologies had to be adapted or re-designed to a planetary scale, while also maintaining their fidelity at a city scale. Not only was this achieved, but the quality bar was significantly raised to deliver ever more detailed acoustic effects such as: Physically accurate early and late reflections; and more elegant direct field estimation.
自从我们展示了Snowdrop引擎为《汤姆·克兰西之全境封锁2》提供高保真环境声学效果以来已经过去了5年。而在《阿凡达：潘多拉前夜》中，这些技术必须被调整或重新设计，以适应行星尺度，同时还要在城市尺度上保持其保真度。不仅仅实现了这一点，而且质量标准也得到了显著提高，以提供更加详细的声学效果，例如：物理上准确的早期和晚期反射；以及更加优雅的直接场估计。
链接：https://schedule.gdconf.com/session/gang-demo-derby-music/899820
作者：Emmanuel Lagumbay (Audio Designer, Lagumbay Audio)、Stephanie Economou (Composer, Rabbit Run Music)、Mason Lieberman (Senior Composer & Audio Supervisor, Tencent)、Jason Hayes (Studio Audio Director, Another Axiom Inc.)
The G.A.N.G. Music Demo Derby is a longstanding tradition at GDC, and has been a cornerstone event for new and emerging composers. Attendees can submit 60 seconds of their best work for a detailed critique and feedback from a team of leading audio directors and professionals, and participate in an active discussion with fellow panelists and audience members. The Derby facilitates game audio practitioners of all levels, and is suited for producers, composers, audio directors, and anyone interested in music for games and interactive entertainment.
G.A.N.G.音乐演示大赛是GDC的一项长期传统，也是新兴作曲家的重要活动。参与者可以提交他们最好的作品60秒，获得领先音频总监和专业人士团队的详细评估和反馈，并与其他参与者和观众展开积极讨论。这个大赛旨在促进各个层次的游戏音频从业者，适合制作人、作曲家、音频总监以及所有对游戏音乐和互动娱乐感兴趣的人。 (G.A.N.G. = Game Audio Network Guild)
链接：https://schedule.gdconf.com/session/gang-demo-derby-sound-design/899822
作者：Nick Hart (TBD)、Shannon Potter (Studio Head, Formosa Interactive)、Scott Gershin ([email protected], Sound Lab at Keywords Studios)、Kristen Quinn (Audio Director, Polyarc)、Elise Baldwin (Senior Audio Lead, Netflix Games)
The G.A.N.G. Sound Design Demo Derby is a longstanding tradition at GDC, and has been a cornerstone event for new and emerging audio professionals. Attendees can submit 120 seconds of their best work for a detailed critique and feedback from a team of leading audio directors and professionals. They can also participate in an active discussion with fellow panelists and audience members. The Derby is open to GDC attendees across all disciplines.
Note that Participants in the Demo Derby must have a, Audio Pass or higher
《G.A.N.G.声音设计示范大赛》是GDC的一项悠久传统，也是新兴音频专业人士的重要活动。与会者可以提交他们最好的作品的120秒进行详细评议，并获得来自领先音频总监和专业人士团队的反馈。他们还可以参与与其他专家和观众的讨论。该大赛对来自各个领域的GDC与会者开放。
请注意，参与示范大赛的人必须持有音频通行证或更高级别的证件。
链接：https://schedule.gdconf.com/session/gang-town-hall/903402
作者：Brian Schmidt (Founder, GameSoundCon)、Sabrina Hutchinson (Agent & Founder, Defiant Talent Management)
Celebrating the 22nd anniversary of G.A.N.G.’s genesis at the Game Developer’s Conference in 2002, this session will discuss the organization’s accomplishments since its founding as well as changes to leadership and structure. There will be an open discussion with the audience on how to further improve the future of the organization and to look at what the future holds. This meeting is open to anyone interested in promoting excellence and advancements in interactive audio. Over 2,200 people representing over 25 countries around the world have joined G.A.N.G since its inception in 2002.
在2002年的游戏开发者大会上庆祝G.A.N.G.创立22周年，本次会议将讨论该组织自成立以来的成就，以及对领导和结构的变化。将与观众开展开放式讨论，探讨如何进一步改善该组织的未来，并展望未来。此次会议面向任何对促进互动音频卓越和进步感兴趣的人开放。自2002年成立以来，已有来自25个国家的超过2200人加入了G.A.N.G。
作者：Richard Ludlow (Audio Director, Hexany Audio)、Debbie Gonzalez (EP/Head of Studio, The Sound Lab a Keywords Studio)、Jeff Broadbent (Composer, Independent)、Michael Sweet (Audio Designer, Independent)
This series of three roundtables explores the topic of business for game audio, allowing plenty of time for discussion and exploration. Attendees are welcome to bring their questions for the moderators and group as a whole, which will influence and guide the direction each roundtable session takes.
这一系列三场圆桌讨论会探讨了游戏音频业务主题，为讨论和探索提供充足时间。与会者欢迎就这些议题向主持人和整个团体提出问题，这将影响和引导每场圆桌讨论会的方向。
链接：https://schedule.gdconf.com/session/game-audio-business-roundtable-day-2-composer-agents/903292
作者：Richard Ludlow (Audio Director, Hexany Audio)、Debbie Gonzalez (EP/Head of Studio, The Sound Lab a Keywords Studio)、Jeff Broadbent (Composer, Independent)、Jeremi Valiquette (President / Agent, 1E Avenue Music Agency)
This series of three roundtables explores the topic of business for game audio, allowing plenty of time for discussion and exploration. Attendees are welcome to bring their questions for the moderators and group as a whole, which will influence and guide the direction each roundtable session takes.
这一系列三场圆桌讨论会探讨了游戏音频业务主题，为讨论和探索提供充足时间。与会者欢迎就这些议题向主持人和整个团体提出问题，这将影响和引导每场圆桌讨论会的方向。
链接：https://schedule.gdconf.com/session/game-audio-business-roundtable-day-3-music-income-streams/903294
作者：Richard Ludlow (Audio Director, Hexany Audio)、Debbie Gonzalez (EP/Head of Studio, The Sound Lab a Keywords Studio)、Jeff Broadbent (Composer, Independent)、Michael Sweet (Audio Designer, Independent)
This series of three roundtables explores the topic of business for game audio, allowing plenty of time for discussion and exploration. Attendees are welcome to bring their questions for the moderators and group as a whole, which will influence and guide the direction each roundtable session takes.
这一系列三场圆桌讨论会探讨了游戏音频业务主题，为讨论和探索提供充足时间。与会者欢迎就这些议题向主持人和整个团体提出问题，这将影响和引导每场圆桌讨论会的方向。
链接：https://schedule.gdconf.com/session/game-audio-programming-roundtable-day-1-game-integration/899288
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)、Helen Yang (Audio Programmer, Epic Games)
Wednesday: "Audio Programming Roundtable: Game Integration"
This roundtable session will focus on tools and techniques for integrating with game engines. Topics will center around technology choices, game audio engine design, and tool design. Newbies and experts are welcome to come and share their wisdom.
Thursday: "Audio Programming Roundtable: Low-Level Topics"
This roundtable session will focus on low-level topics such as DSPs and mixing. Topics will center around algorithms, interesting effects to implement, and integrating those effects into workflows. Newbies and experts are welcome to come and share their wisdom.
Friday: "Audio Programming Roundtable: Free-for-all"
In this roundtable session we will cover any topics that we didn't get to in the previous two days. We will also have a Q&A session where your questions can be answered by expert audio programmers. Newbies and experts are welcome to come and share their wisdom.
周三：「音频编程圆桌讨论：游戏集成」
本次圆桌讨论将聚焦于与游戏引擎集成的工具和技术。讨论主题将围绕技术选择、游戏音频引擎设计和工具设计展开。欢迎新手和专家前来分享经验。
周四：「音频编程圆桌讨论：低层级主题」
本次圆桌讨论将聚焦于诸如 DSP 和混音等低层级主题。讨论主题将围绕算法、有趣的效果实现以及将这些效果集成到工作流程中展开。欢迎新手和专家前来分享经验。
周五：「音频编程圆桌讨论：自由讨论」
在本轮圆桌讨论中，我们将讨论前两天没能涉及到的任何主题。我们还将设置一个问答环节，让专业音频程序员回答你的问题。欢迎新手和专家前来分享经验。
链接：https://schedule.gdconf.com/session/game-audio-programming-roundtable-day-2-low-level-topics/903298
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)、Helen Yang (Audio Programmer, Epic Games)
This roundtable session focuses on low-level topics such as DSPs and mixing. Topics will center around algorithms, interesting effects to implement, and integrating those effects into workflows. Newbies and experts are welcome to come and share their wisdom.
这个圆桌讨论会专注于低级话题，比如 DSPs 和混音。讨论的主题将围绕算法、有趣的实现效果以及将这些效果整合到工作流程中展开。新手和专家均欢迎前来分享他们的经验。
链接：https://schedule.gdconf.com/session/game-audio-programming-roundtable-day-3-free-for-all/903299
作者：Guy Somberg (Lead Gameplay Engineer, Echtra Games)、Helen Yang (Audio Programmer, Epic Games)
In this roundtable session, we cover any topics that we didn't get to in the previous two days. We also have a Q&A session where your questions can be answered by expert audio programmers. Newbies and experts are welcome to come and share their wisdom.
在这个圆桌讨论会上，我们会涵盖前两天未能讨论到的任何话题。我们还会设置一个问答环节，专家音频程序员会回答你的问题。新手和专家都可以前来分享他们的智慧。
作者：Jamie Lee (Sound Designer, A Shell in the Pit)、Mark Berg (Technical Audio Artist, Electronic Arts)、Mason Victoria (Lead Audio Designer, Disruptive Games)
Are you looking to make a career transition into game audio as someone with a musical background? Look no further and join the "musicians-turned-game-audio-professionals'' Jamie Lee (A Shell in the Pit), Mark Berg (Electronic Arts), and Mason Victoria (Disruptive Games) to learn more about game audio and sound design through the lenses of musicians. This lecture will focus on three fundamentals of game audio in three microtalks: business/workflow, design, and technical implementation. Each microtalk will provide you with applicable game audio knowledge that is derived directly from your music background, and will give you an unfiltered and honest overview of the industry.
您是否希望以音乐背景为基础转入游戏音频领域？别再犹豫，赶快加入“音乐家转型游戏音频专业人士”Jamie Lee（A Shell in the Pit）、Mark Berg（Electronic Arts）和Mason Victoria（Disruptive Games），通过音乐家的视角深入了解游戏音频和声音设计。这次讲座将聚焦于三个游戏音频基础知识的微型讲座：业务/工作流程、设计和技术实施。每个微型讲座将为您提供直接源自音乐背景的可应用游戏音频知识，并为您提供一个关于行业的真实和坦率的概述。
链接：https://schedule.gdconf.com/session/gran-turismo-7-sound-design-of-the-real-driving-simulator/898986
作者：Masao Kimura (Sound Designer, Polyphony Digital Inc.)、Daisuke Takeuchi (Audio Programmer, Polyphony Digital Inc.)、Takashi Minagawa (Audio Engineer, Polyphony Digital Inc.)
In this session, Polyphony Digital Inc.'s Masao Kimura, Daisuke Takeuchi, and Takashi Minagawa explain how they achieved their sound design in their latest title, Gran Turismo 7. The session focuses on both design and technical aspects of the sound design in the game—including the process of car engine sound creation, along with its history throughout the series. The process includes: recording session arrangement, car driving, miking, mixing, editing, and implementing the game. An overview of car engine sound tools and engine sound synthesis system that drives a major part of the creation process are also shown. In addition, spatial audio effects such as impulse response and early/late reverb system, which embellish the soundscape in the game, are explained and explored.
在这一场次中，Polyphony Digital Inc.的Masao Kimura、Daisuke Takeuchi和Takashi Minagawa解释了他们如何在最新作品《Gran Turismo 7》中实现了他们的音频设计。该场次专注于游戏中音频设计的设计和技术方面，包括汽车引擎声音的创作过程，以及它在整个系列中的历史。该过程包括：录制会话安排，汽车行驶，麦克风设置，混音，编辑，以及将其实施到游戏中。同时还展示了驱动创作过程的汽车引擎声音工具和引擎声音合成系统的概述。此外，解释和探索了增添游戏中声音景观的空间音频效果，比如脉冲响应和早期/晚期混响系统。
链接：https://schedule.gdconf.com/session/haptics-a-playful-collaboration-between-audio-and-design/898952
作者：Kristian Rømer (Senior Sound Designer, IO Interactive)
This session will center around the design of controller vibrations, how the knowledge and expertise of sound designers in collaboration with game design can bring experiences to a new level using audio driven haptics.
Playing games is an intense sensory experience. We are bombarded with audiovisual feedback to both inform players of gameplay significant events and to keep them engaged and immersed in the world. We found that using high fidelity haptics could allow us to both make the game feel more responsive and increase immersion. As with auditory feedback, good haptics shouldn't draw the players attention, they work on a subconscious level and should refrain from breaking the illusion of the experience.
This talk explores design principles and strives to inspire how you can create audio driven haptics to support interactive experiences.
这个讨论会围绕着手柄震动设计展开，讨论声音设计师在与游戏设计师合作中如何运用知识和专业技能，利用声音驱动触觉技术将游戏体验提升到一个新水平。
玩游戏是一种强烈的感官体验。我们被音频和视觉反馈淹没，既可以告知玩家游戏中重要事件，也让他们沉浸在游戏世界中。我们发现使用高保真的触觉可以让游戏更具响应性，增加沉浸感。与听觉反馈一样，好的触觉不应该吸引玩家的注意力，它们在潜意识层面起作用，应避免破坏体验的幻觉。
这次讲座探讨了设计原则，并努力激发灵感，展示如何创建声音驱动的触觉以支持互动体验。
链接：https://schedule.gdconf.com/session/hearing-health-in-video-games/899638
作者：Brian Schmidt (Founder, GameSoundCon)
This year, the World Health Organization (WHO) began reaching out to the video game audio community and invited those involved in the game industry and esports to participate in their June 2023 Make Listening Safe consultation. One of the outcomes of the June and subsequent meetings was recognition of the desire to make the game industry better aware of issues around listening safety.This talk discusses the current factors affecting hearing health for the game industry, and discuss some things we may be able to do as game developers to help make listening safer for the players who enjoy our games. Topics include the current work at the WHO, how sound can affect hearing, potentially mitigation strategies and how safe listening may be a ‘close cousin’ to features such as loudness standards, accessibility and listening environment.
今年，世界卫生组织（WHO）开始与视频游戏音频社区取得联系，邀请从事游戏行业和电子竞技的人士参加他们于2023年6月举办的“使聆听更安全”研讨会。6月及后续会议的其中一个成果是认识到希望使游戏行业更加关注围绕聆听安全的问题。这次讨论涉及当前影响游戏行业听力健康的因素，并讨论作为游戏开发者我们可以采取哪些措施来帮助玩家更安全地聆听我们游戏的内容。讨论的主题包括WHO目前的工作、声音如何影响听力、潜在的缓解策略以及安全聆听如何与响度标准、可访问性和听力环境等功能‘息息相关’。
作者：Georgia Mae Ayling (Audio and Narrative Feature Tester, Rocksteady Studios Ltd)
The question asked most when you tell someone you work in Quality Assurance is "You just get to play video games all day, right?". A more accurate question for my job would be: "You just get to listen to video games all day, right?". Suicide Squad: Kill The Justice League is a unique gaming experience combining open world, AAA storytelling and cross platform multiplayer co-op. This session will cover how Quality Assurance was scoped for testing Audio, the tools and methodologies used in the process and the main challenges faced in the process. It will dive into topics such as how audio specific tools were used to support testing, how decisions around database management were effective to the workflow and time management while supporting a number of separate teams.
在向别人说你从事质量保证工作时，最常问的问题是："你整天都可以玩视频游戏，对吧？"。对于我的工作来说，一个更准确的问题应该是："你整天都可以听视频游戏，对吧？"。'自杀小队：杀戮正义联盟' 是一种独特的游戏体验，结合了开放世界、AAA级叙事和跨平台多人合作游戏。本次讨论将涵盖质量保证是如何为音频测试制定范围的、在过程中使用的工具和方法以及在整个过程中面临的主要挑战。它将深入探讨诸如如何使用专门的音频测试工具支持测试、如何围绕数据库管理做出有效决策以支持工作流程和时间管理，同时支持多个独立团队等主题。
链接：https://schedule.gdconf.com/session/i-know-what-you-did-last-somerville/899502
作者：Jay Steen (Tech Director, SweejTech)、Matteo Cerquone (Audio Director, Jumpship)
In this talk, Somerville's Audio Director and Audio Programmer discuss the creative and technical challenges of the game's sound and how they overcame them. They cover the cinematic, storytelling mix and creating Somerville's brooding sonic atmosphere, how the alien elements of the game's sound were created and implemented, how sound was used to ground the player in an interactable environment, and how its otherworldly soundtrack brought the experience together.
在这次讲话中，Somerville的音频总监和音频程序员讨论了游戏声音的创意和技术挑战，以及他们是如何克服这些挑战的。他们讨论了电影化、叙事性混音和创造Somerville沉郁声音氛围的方法，游戏声音中的外星元素是如何创造和实现的，声音如何被用来让玩家置身于一个互动环境中，以及它的异世界配乐如何融合体验。
作者：Joshua Bell (Senior Technical Audio Designer, Remedy Entertainment)
Alan Wake 2's profiling feature allows the player to delve into the minds and motivations of the game's characters, and access their thoughts and glimpses of past/future events. It exists inside the Mind Place, a 3D-space, immersive in-game user-interface, and hub to filter narrative elements and explore the story.
Navigating the wealth of content, the narrative importance, and the abstract essence of the Mind Place and Profiling module posed challenges for the team. However, it presented a great chance to enhance Alan Wake 2's narrative and collaborate closely with visual disciplines to craft a cohesive audio-visual experience.
We will go through the audio design for the "Profiling" feature, exploring how we concepted, overcame technical limitations, gave ourselves a framework to execute the large amount of content needed, and utilised an "audio-driven audio" and audio-driven visuals approach to craft a balanced and coherent experience.
《艾伦·韦克2》的画像功能允许玩家深入游戏角色的思想和动机，访问他们的想法以及过去/未来事件的片段。它存在于“心智空间”内，这是一个三维空间、沉浸式的游戏用户界面，也是筛选叙事元素和探索故事的中心枢纽。
在导航内容的丰富性、心智空间和画像模块的叙事重要性以及抽象本质方面，团队面临了挑战。然而，这为提升《艾伦·韦克2》的叙事提供了一个绝佳机会，并与视觉学科紧密合作，打造一个连贯的视听体验。
我们将介绍“画像”功能的音频设计，探讨我们如何构思、克服技术限制，为执行所需的大量内容建立框架，并利用“音频驱动的音频”和音频驱动的视觉方法，打造一个平衡且连贯的体验。
链接：https://schedule.gdconf.com/session/learnings-from-working-with-voice-actors-remotely/900205
作者：Adam Ritchie (Senior Voice Designer, Massive Entertainment - A Ubisoft Studio)
This session presents why working with voice actors remotely, whilst sometimes not ideal, can be a good decision for developers and their projects. The speaker guides attendees through lessons he has learned in planning, preparing and running successful online voice recording sessions.
Based on a working guide that Adam and other colleagues have developed over the course of several projects, attendees learn a framework and ground-rules to use as a foundation for recording sessions over distance, covering: roles and responsibilities in the session, preparation and transmission of media, communication flow and some examples from projects that have inspired and been shaped by this guide.
这场研讨会介绍了为什么远程与配音演员合作，虽然有时不是最理想的选择，但对开发者及其项目来说却是一个明智的决定。演讲者将指导听众通过他在计划、准备和运行成功的在线配音录制会话中所学到的经验教训。
基于 Adam 和其他同事在几个项目中制定的工作指南，与会者将学习一个框架和基本规则，作为在远程录制会话中的基础，包括：会话中的角色与责任、媒体的准备和传输、沟通流程，以及一些受到这个指南启发和塑造的项目示例。
作者：Oda Tilset (Co-owner, Noknok Audio)
How do you approach sound design and implementation for a game where 2D images turn into interactive 3D spaces, your surroundings can be duplicated with an instant camera, and every single sound is rewindable? In this lecture, Oda will talk about the solutions the audio team of Viewfinder came up with to create a soundscape that adapts to an environment that is constantly changing in bizarre ways.
Oda will show how things are set up in Unity and FMOD, and also share how mechanics influenced her sound design.
你对于一个游戏中声音设计和实施的方法是如何，当游戏中的2D图像转变为交互式的3D空间时，你周围的环境可以通过即时相机复制，而且每一个声音都可以倒带？在这次讲座中，Oda将讨论《Viewfinder》的音频团队提出的解决方案，创造一个适应以怪异方式不断变化的环境的音景。
Oda将展示在Unity和FMOD中的设置，并分享机制是如何影响她的声音设计的。
链接：https://schedule.gdconf.com/session/mixing-marvels-spider-man-2/900198
作者：Blake Johnson (Audio Lead, Insomniac Games)
Marvels Spider-Man 2 is full of bombastic moments in bustling city, epic full frequency score, and gripping narrative dialog with just a few quips in between. Needless to say, balancing it all can become quite the juggling act. In this session, Insomniac Games' Blake Johnson will present how all the different elements were wrangled together to deliver a dynamic and clear mix, both from a philosophical level to a technical level. The session will look at the use of dynamic mix systems in Wwise, how Wwise HDR was used, as well as how gameplay and engine information was used to inform the mix.
《蜘蛛侠：英雄无敌2》充满了繁忙城市中的惊险时刻，史诗级的完整音频得分，以及扣人心弦的叙事对话，只是在其中穿插了一些俏皮的语言。毫无疑问，平衡所有这些元素可能成为一个相当棘手的把戏。在本次研讨会中，Insomniac Games的Blake Johnson将介绍如何将所有不同的元素整合在一起，以提供动态且清晰的混音，无论是从哲学层面还是技术层面。本次会议将探讨在Wwise中使用动态混音系统的方式，以及如何使用Wwise HDR，以及如何利用游戏玩法和引擎信息来指导混音的过程。
作者：Colin Walder (Engineering Director, Management and Audio, CD Projekt RED)、Giuseppe Marano (Staff Engineer, Audio, CD Projekt RED)
The music and mixing systems of Cyberpunk 2077 give Composers and Sound Designers the power to author their content, but also stands as a "director" between the player and the multitude of audio cues that naturally emerge from the life of Night City.
In this talk, Colin Walder, Engineering Director, Management & Audio, and Giuseppe Marano, Staff Engineer, Audio at CD PROJEKT RED, present an overview of the music and mixing tech developed for Cyberpunk 2077, and how creativity was put into the hands of the players through the audio modding system. They discuss the challenges involved in authoring dynamic transitions within a vast and dense open world, how to overcome the limitations of an area-based pipeline, and how to design a system that allows for injecting audio hooks into quests, scenes and dynamic encounters.
《赛博朋克2077》的音乐和混音系统赋予了作曲家和音效设计师创作内容的力量，但也可以视为玩家和从夜之城自然而生的众多音频提示之间的“导演”。
在这次演讲中，CD PROJEKT RED公司的工程总监Colin Walder和音频工程师Giuseppe Marano概述了为《赛博朋克2077》开发的音乐和混音技术，以及如何通过音频修改系统将创意交到玩家手中。他们讨论了在庞大而密集的开放世界中创作动态过渡所涉及的挑战，如何克服基于区域的流程管线的局限，以及如何设计一个系统，允许将音频挂钩注入任务、场景和动态遭遇中。
链接：https://schedule.gdconf.com/session/multiband-mixing-in-suicide-squad-kill-the-justice-league/899515
作者：Andrew Quinn (Principal Sound Designer, Rocksteady Studios Ltd)
In this session Andrew Quinn, Principal Sound Designer at Rocksteady Studios discusses side chain multi band mixing and the dynamic routing system that enabled Rocksteady to create a vibrant and exciting mix in Suicide Squad: Kill the Justice League. The session discusses the aesthetic challenges and technical limitations that led to developing the multiband plugin and routing system. We will also dive into the mix pipeline in depth with detailed examples from Suicide Squad: KTJL and comparisons to traditional mixing.
在这个讨论中，Rocksteady Studios 音效主设计 Andrew Quinn 将探讨旁链多频带混音和动态路由系统，这些系统使Rocksteady得以在《自杀小队：杀戮正义联盟》中创造出生动刺激的混音效果。这个讨论会涵盖美学挑战和技术局限，这些挑战促成了多频带插件和路由系统的发展。我们还会深入研究《自杀小队：KTJL》的混音流程，并提供详细例证，同时与传统混音进行比较。
链接：https://schedule.gdconf.com/session/rapid-music-production-in-live-service-games/899663
作者：Maclaine Diemer (Composer, First Name Maclaine, LLC)
Standalone games commonly allow composers an extended timeline to plan and execute a score, often taking years to refine the music alongside the development team. However, ongoing games, such as live service games with regular DLC, or an MMO with seasonal content and expansions, have very different musical needs. While there may be less total music per release, that often means there is less time to produce it. In this session, Maclaine breaks down his experience on the latest Guild Wars 2 expansion, Secrets of the Obscure, detailing the process and challenges of crafting a full-scale live orchestral score in just four months.
单机游戏通常允许音乐作曲家有更长的时间线来规划和执行配乐，通常需要数年的时间来与开发团队一起打磨音乐。然而，持续更新的游戏，比如定期推出 DLC 的在线服务游戏，或者带有季节性内容和扩展包的 MMO，具有非常不同的音乐需求。尽管每次发布的音乐可能会减少一些，但这通常意味着需要更少的时间来制作。在这个研讨会中，Maclaine 分享了他在最新的《激战2：幽测之密》扩展包上的经验，详细介绍了在仅仅四个月内打造完整的现场管弦乐谱的过程和挑战。
作者：ZW Buckley (Composer, Plant Based Audio)、Katherine Tole (Voice Actor and Dialogue Editor, Plant Based Audio)、Laryssa Okada (Composer, Independent)、Jasmine Cooper (Composer, Perennial Sounds LLC)
Join us for a roundtable discussion on how to continue developing your career while working remotely in game audio. We’ll explore strategies for staying connected with the broader game development community, sharing personal habits for career advancement, as they relate to remote work settings. We’ll discuss how to self-manage growth and development for freelancers and in-house employees alike. Participants also reflect on what they wish they had known when starting their careers. The roundtable will also explore strategies for standing out as a remote game audio worker and finding a unique place within your game development studio or community.
加入我们的圆桌讨论，在游戏音频领域远程办公的同时如何继续发展你的职业。我们将探讨保持与更广泛的游戏开发社区联系的策略，分享关于职业发展的个人习惯，以及它们与远程工作环境的关系。我们将讨论如何自我管理自由职业者和公司内员工的成长和发展。参与者还将反思在开始职业时希望自己知道的内容。本次圆桌讨论还将探讨如何作为远程游戏音频工作者脱颖而出，找到在游戏开发工作室或社区中的独特位置的策略。
作者：ZW Buckley (Composer, Plant Based Audio)、Laryssa Okada (Composer, Independent)、Katherine Tole (Voice Actor and Dialogue Editor, Plant Based Audio)、Jasmine Cooper (Composer, Perennial Sounds LLC)
The panel explores the relationship between workspace and mental health and how the two intersect in remote game audio work. Our panelists will delve into the significance of maintaining a distinct workspace within your home and the impact it has on work-life balance. Struggles with project management and its effects on mental health are discussed, emphasizing the importance of curating the projects you take on. The panelists will also discuss habits to protect mental health during industry turbulence and highlight the necessity of incorporating breaks and physical activity in an often sedentary job. Attendees will walk away with strategies and practices for preventing burnout and striving for a sustainable remote career.
该专题讨论了工作空间和心理健康之间的关系，以及这两者在远程游戏音频工作中的交汇。我们的专家将深入探讨在家中保持独立工作空间的重要性以及它对工作与生活平衡的影响。讨论了项目管理方面的挑战及其对心理健康的影响，强调了精选承担的项目的重要性。专家们还将讨论在行业动荡期间保护心理健康的习惯，并强调在通常是久坐工作中加入休息和体育活动的必要性。与会者将学习到预防过劳和追求可持续远程职业的策略和实践。
作者：Megan Carnes (Composer, Independent)、David Su (Senior Audio Programmer, Brass Lion Entertainment)、Jamie Lee (Sound Designer, A Shell in the Pit)
When starting a game audio career, it's very common to receive a barrage of well-meaning advice, both directly from those working in the industry and through various articles and online sources. But each person's situation is different, and advice is not one size fits all. How can anyone determine what's applicable and what can be disregarded? In this talk, sound designer Jamie Lee (A Shell in the Pit), senior audio programmer David Su (Brass Lion Entertainment), and composer/music implementer Megan Carnes (independent) share questions attendees can ask themselves when deciding whether to listen to a piece of advice. They also reveal how sometimes going against conventional wisdom helped them to build careers that they truly love.
在开始游戏音频职业生涯时，经常会收到来自行业内人士以及各种文章和在线来源的一系列善意建议是非常普遍的。但每个人的情况各不相同，建议并非一刀切。任何人如何确定哪些建议适用，哪些可以忽略呢？在这次讲座中，声音设计师Jamie Lee（‘A Shell in the Pit’）、高级音频程序员David Su（Brass Lion Entertainment）和作曲家/音乐实施者Megan Carnes（独立）分享与会者在决定是否听取一条建议时可以询问自己的问题。他们还揭示了有时违反传统智慧如何帮助他们建立了自己真正热爱的职业的经历。
链接：https://schedule.gdconf.com/session/the-audio-of-xdefiant/900028
作者：Nicholas Bonardi (Audio Director, Ubisoft)、Brian DiDomenico (Lead Audio Designer, Ubisoft)
This talk will focus on the architecture, systems, and challenges creating all the Audio, Music, and VO for Ubisoft's XDefiant. We'll be looking through the actual (Wwise) audio session, breaking down various audio systems, talking design decisions, and ultimately answering how and why things are setup the way they are. The talk will lean more technical, but still intends to be approachable so that anyone with an interest in Audio can follow along and learn!
XDefiant is a 6v6 first person arena shooter, with classic multiplayer modes, drawing on characters and factions from the Ubisoft universe.
这次讲座将重点讨论在Ubisoft的《XDefiant》中创建所有音频、音乐和语音的架构、系统和挑战。我们将深入了解实际的（Wwise）音频会话，分解各种音频系统，讨论设计决策，最终回答为什么以及如何设置这些系统。讲座将偏重技术性，但仍旨在让对音频感兴趣的任何人都能跟上并学习！
《XDefiant》是一款6v6第一人称竞技射击游戏，具有经典的多人模式，汲取了来自Ubisoft宇宙的角色和派系。
作者：Alexander Radkevich (Expert Localization Project Manager, CD Projekt Red)
Its always been the studio's goal to make Cyberpunk 2077 feel as if it was developed specifically for the audience in each of the territories CD PROJEKT RED brought the game to. With Phantom Liberty, REDs aimed to expand on this area even further — broadening the range of available languages and improving the tools that they have previously worked with. Alexander Radkevich will cover the demands of supporting the base game and working on the expansion in parallel, optimizing workflows to minimize the costs without giving up on the quality of the game, working with voice-over talents, and delivering tools that helped make the cooperation with external vendors smoother.
这家工作室一直以来的目标就是要使《赛博朋克2077》在CD PROJEKT RED推向的每个地区的受众中感觉就像是专门为他们开发的游戏。而对于《幻影自由》（Phantom Liberty），REDs则旨在进一步拓展这一领域 — 拓宽可提供的语言范围，并改进他们之前使用过的工具。Alexander Radkevich 将会满足支持基础游戏和同时开发扩展内容的需求，优化工作流程以降低成本但不牺牲游戏质量，与配音演员合作，并提供帮助使与外部供应商合作更加顺畅的工具。
链接：https://schedule.gdconf.com/session/the-music-of-tchia-channeling-the-soul-of-new-caledonia/900009
作者：John Robert Matz (Composer, Independent)
"Tchia" is a one-of-a-kind cultural celebration of the small island nation of New Caledonia. Featuring elements of geography, art, food, architecture, mythology, and innumerable other aspects of New Caledonian life, it is the musical sonorities of New Caledonia that frequently take center stage. Join the composer as he looks at the process that went into creating a culturally-sensitive, respectful, collaborative score that features and revels in local voices, rhythms, and timbres. Expect to examine featured local instruments, dive into the challenges of international collaboration, production on a budget, songwriting, rhythm game design, open world interactive musical structure, and even take a look at how Tchia's playable ukulele came together!
《Tchia》是对新喀里多尼亚小岛国独特文化的一次庆祝。该游戏涵盖了地理、艺术、食物、建筑、神话等诸多新喀里多尼亚生活方面的元素，但最常引人注目的是新喀里多尼亚的音乐声音。加入这位作曲家，一起来探讨创作出一部体现当地声音、节奏和音色、具有文化敏感性与尊重性、合作性的配乐所经历的过程。期待探讨当地乐器、国际合作挑战、预算限制下的制作、歌曲创作、节奏游戏设计、开放世界互动音乐结构，甚至看一看《Tchia》中可玩的尤克里里是如何诞生的！
作者：Takuhiro Dohta (Senior Director, Entertainment Planning & Development Division, Nintendo Co., Ltd.)、Junya Osada (Sound Programmer, Entertainment Planning & Development Division, Nintendo Co., Ltd.)、Takahiro Takayama (Physics Programmer, Entertainment Planning & Development Division, Nintendo Co., Ltd.)
Developers of The Legend of Zelda: Tears of the Kingdom discuss structuring an expanded Hyrule around physics-based gameplay and evolved sound design! Join the game’s Technical Director Takuhiro Dohta, Lead Physics Programmer Takahiro Takayama, and Lead Sound Engineer Junya Osada as they explore challenges their teams faced when approaching this sequel. They will share insights on Link’s new abilities, composing Hyrule’s expanded sound design and music, and how these go hand-in-(Ultra)hand to create a new experience for players. By the end of Mr. Dohta, Mr. Takayama, and Mr. Osada’s talk, they aim to give attendees and players everywhere new perspective on the world of Tears of the Kingdom and the innovations within.
《塞尔达传说：王国之泪》的开发团队讨论围绕基于物理的游戏玩法和进化的音频设计构建扩展版的海拉尔！加入游戏的技术总监土田拓广，主力物理程序员高山隆博，和主力音效工程师长田纯也，他们将探讨团队在处理这部续作时所面临的挑战。他们将分享关于林克（Link）的新技能、创作海拉尔扩展版音效设计和音乐的见解，以及这两者如何携手合作为玩家打造全新体验。在土田先生、高山先生和长田先生的讨论结束时，他们的目标是为与会者和各地玩家带来对《王国之泪》世界和其中的创新的新视角。